This topic can be used to discus episode 27. The second to last episode, directed by Stephen Gyllenhaal.

Although this episode is generally seen as one of the 'less interesting' episodes, I really like this one very much and think it really puts the series back on track towards the fantastic final episode.

I'm still puzzeld by 3 things in this episode:1. When Harry and Cooper enter the station Lucy said Hawk is feeding someone breakfast who she has never seen before and looked very sad. Who is this?2. In a certain scene (I think it's the one where Ben has a conversation with Audrey after her return from Seatle), Ben is left alone in his office and kneels by the fire place. Suddenly he looks over his shoulder, it looks like he's afraid of something. what does Ben see in this scene?3. The trembling hands. The customer in the RR (while eating pie) Cooper (while watching outside the window thinking about Annie) and Pete (while waiting on Audrey when she is loosing her virginity) all experiance the trembling right hand at a certain point in this episode. Any thoughts on this?

My opinions on these scenes:1. Hawk is feeding breakfast to the roadie whose friend was in Windom Earles' chess pawn. Does that make sense? I was never very sure about this.2. I read somewhere that Ben sees Josie because she is still in the wood of the Great Northern. I like this theory because in the scene after this one, you can see Pete talking to a wall (the wood?) and refering to Josie. Are there any other theories about this?3. I think it's quite obvious this refers to the final scene in which we see Bob's arm as he is coming out of the red room at Glastonbury Grove. My main question about this is: are there any theories why the 3 characters mentioned above experience the trembling of the right hand?

These are my 3 questions about this episode, but feel free to discuss other things! For instance what is your favourite scene in this one? Mine is the conversation between Cooper and Annie in the RR when they make plans to go dancing. Love the threatening tone. And off course the dancing scene itself with the mayor messing with the microphone and the giant appearing is superb as well

Overal, I think Ghyllenhaal has done a great job directing this episode!

MoondogJR wrote:this episode is generally seen as one of the 'less interesting' episodes

It is? Not by me, for sure! his episode holds my own personal record for being watched the most times in the first week after premiere ... He he, a bit overcomplicated category perhaps. Anyway, I recorded in on VHS when it was first shown in Poland and before next Friday watched it five times. I guess I was both so mesmerised and so confused I felt I still had to comprehend it more and more!

Your questions? ad. 2 and 3 - I never liked making any interpretations too literal. For me anything Ben saw and anything that made hands tremble were symptoms of extremely potent powers that were getting out of hand. From the lodge, from the woods, whatever - the balance of the world was shaking. It shook to death in Ep.29 of course. It's interesting however, why these particular three people were shown with trembling hands. Why not, perhaps? Or perhaps in order to show:a) the main characterb) a background characterc) an anonymous person who never took part in the storyThey sort of represent all people in Twin Peaks, don't they?

MoondogJR wrote:My opinions on these scenes:1. Hawk is feeding breakfast to the roadie whose friend was in Windom Earles' chess pawn. Does that make sense? I was never very sure about this.2. I read somewhere that Ben sees Josie because she is still in the wood of the Great Northern. I like this theory because in the scene after this one, you can see Pete talking to a wall (the wood?) and refering to Josie. Are there any other theories about this?3. I think it's quite obvious this refers to the final scene in which we see Bob's arm as he is coming out of the red room at Glastonbury Grove. My main question about this is: are there any theories why the 3 characters mentioned above experience the trembling of the right hand?

I pretty much agree with all 3. It's worth noting that in Reflections, Gyllenhaal says that he came up with the idea of trembling hands and had no idea what it meant, but thought it would look cool! And apparently when he asked Lynch about it, Lynch said, "Glad you've been wearing your thinking cap," or something to the effect.

I really wish he'd made it their left hand that shook though, as that would have connected so much better to all the left arm stuff Lynch does in the film (and all the - coincidental? - left-body injuries in the series).

I generally like Episode 27, maybe a little less than episode 25 though (maybe 26 or even 24 too; I'd have to watch them again). The dumb Billy Zane story takes up a bit too much screentime but Gyllenhaal adds many cool touches. My favorite part is UNDOUBTEDLY the very ending which (aside from the great RR scene w/ Gordon Cole) is probably my favorite sequence in ep. 17-28. Everything from the giant disappearing and the mayor saying, "Something isn't right here!" through those long, spooky shots of the diner, the hospital (I think?), the school hallway, the sheriff's station, and finally the reappearance of Bob and the Red Room. It's like, "Ok people, the magic is happening again...we are truly back in Twin Peaks." Since the decision to combine the final two episodes as a TV movie was not made (I don't think) until right before this episode aired, there's no way they could have known that ep. 27 would air as the penultimate episode. Yet it plays so perfectly as just that. Weird.

It wasn't until the internet and TP fan discussion that I even ever rethought the line about Hawk and the man having breakfast. I never questioned that it wasn't the friend of the killed roadie. (Like the scenes with Lucy on the phone in episode nine, I always assumed it was Leland and didn't give it a second thought.)

Yes, I agree that Lucy is talking about Rusty's friend. Like Audrey, I never questioned that one.

A few other thoughts:- I love Eale's Dugpa tape.- the old lady with the hat whose hand shakes appears (like Toad) many many times in the RR throughout the series.- Bobby and Shelly's speech scene was rewritten and reshot during filming to make Bobby less of a jerk. The original version is on the bluray.- Love Annie and Cooper's dance. Plus the music is one of my favorites from the series.- the ending sequence is amazing: - I've always wondered at what point the red curtains were added? We know the red room only became the Lodge when Lynch directed the finale, so did they go back? - A shot of Josie during the ending sequence was in the original script.

Brad D wrote:Steve just gave this a fresh watch and we are discussing it tomorrow for "something"... Throw out any other questions and I will make sure they are covered.

Ooh, awesome! If I'm not mistaken, this episode is really one of the only ones that includes Audrey, Donna, and Shelly all in a big scene together (being interviewed by Agent Cooper about the notes they received from Windom Earle). Does he have any memory of shooting that scene, with all the "leading ladies" of Twin Peaks together?

Also, the closing scene of the episode, leading up to BOB and the Red Room reflection by Glastonbury Grove... does he remember anything about that particular shooting location, which would go on to become so iconic in Lynch's finale? Did he get notes ahead of time about how to film that?

Also, the original script indicates that there will be a flashback of Josie screaming in the drawer pull as part of the final montage. Does Steven have any memory of why that didn't get included in the final cut? And does he have any memory about Pete Martell calling out to Josie in the hotel that day? I read Reflections and I thought maybe he is quoted in there as saying he didn't remember (or maybe you shared that with us here on the forum?)

Ross wrote:the old lady with the hat whose hand shakes appears (like Toad) many many times in the RR throughout the series.

Someone somewhere (can't remember who or where) pointed out that this may have felt more resonant if it is was the Log Lady - that would have gone way well with Cooper and Pete. I wonder, was that the original intention? And if not, why did he decide to go with this actress (was it simply something he came up with on the spot, and had to make use of who was available for that particular scene)?

LostInTheMovies wrote:Everything from the giant disappearing and the mayor saying, "Something isn't right here!" through those long, spooky shots of the diner, the hospital (I think?), the school hallway, the sheriff's station, and finally the reappearance of Bob and the Red Room. It's like, "Ok people, the magic is happening again...we are truly back in Twin Peaks."

Ross wrote:- I've always wondered at what point the red curtains were added? We know the red room only became the Lodge when Lynch directed the finale, so did they go back?

^This.

In fact the whole ending montage feels like a nod to the fact that Twin Peaks is going off the air for six weeks and returning for only one more grand finale. Considering that ABC announced the Movie-of-the-Week thing only in April, I don't see how it's possible Gyllenhaal knew that ep. 27 would be the penultimate episode yet everything about this ending positions it that way.

Also, I just read the teleplay for the first time. None of the memorable closing imagery is in there except for Bob's arm coming out of the trees (no Red Room, and none of the other this-is-Twin-Peaks locations).

So, for Brad - my question is, was it his decision to add those long tracking shots through the various sets or were they added long after the production (if so, was he called back to do them)? I'm going to rewatch the episode now - and re-read the section of Reflections with this interview - before returning with final questions.

A few more questions for Stephen Gyllenhaal after re-watching (this might be my favorite Windom Earle performance up to this point - despite the infamous horse suit, he feels more menacing in this episode than usual):

There are a lot of camera moves done in close-up (specifically, pans with a telephoto lens) - what motivated that technique for you, especially considering that Twin Peaks traditionally used wide lenses and static shots?

Where did the idea for that long pull-out with the menacing music in the diner come from? Had you read ahead to know where Cooper & Annie's story arc was heading?

A couple questions about the "dugpa" video: why did you decide to shoot it in extreme close-up (unusual for the taping of a lecture) and how did you and Kenneth Welsh work out his manner of speaking, which is very different from his usual (deeper tone, far more serious)?

Not sure if these are a bit too specific/on-the-nose, but if you think they are worth asking I'm certainly interested in his answers...